Reviews seem to miss the real theme of this film, which is about the voyage of self-discovery of a person who feels out of sync with her world and tries to define, or redefine, her own true self. This theme has a strange attraction for me -- I identify with Georgy's search, I think, because of my own feelings of misalignment with the world or alienation. Unfortunately, as a male, it seems that the principal characters in films addressing this theme with sensitivity are invariably women. Perhaps in our society men are expected not to have such uncertainties about themselves or to suppress them, so no films are made. Two other films I enjoyed because of their similar themes are "Muriel's Wedding" and "Thelma and Louise". If you like, you can tell me I'm reading far more into this film than was ever intended, reminiscent of Mark Twain's famous warning. But you won't convince me! Alan
74 Reviews
60s London well worth a (re)visit
warrenk-224 January 2006
I enjoyed "Georgy Girl" at the time of its original release, but hadn't thought about it until I recently viewed the DVD version. This revisit was well worth it: "Georgy Girl" is a delightful film.
Charlotte Rampling's Meredith is my favorite of the four main characters. Rampling has always been physically stunning, but it's her moody intellect within that keeps Meredith modern rather than a 60s icon who looks sensational in Mary Quant mini-dresses, a darker version of Julie Christie in "Darling" (a character who didn't have too much of a light side herself). Meredith is cool, in control, self-serving, brutal, and surprisingly honest about who she is. "You take me as me," she tells Jos (Alan Bates) as she cajoles him into marrying her, not so much because she's pregnant but because she's bored. It seems in Meredith's view, you can easily get rid of a pregnancy, but boredom requires more skill and is potentially a worse situation in which to find yourself. Other actresses could have successfully made Meredith a bitch, but Rampling makes her fascinating and thus strangely likable. When she exits the film, things go a bit limp, but then there's little left than to move the story to its inevitable conclusion.
Alan Bates plays Jos with such high physical and verbal energy he seems to be all the Marx Brothers rolled into one. His facial expression at the culmination of his strip during the 'I Love You' sequence suggested to me a nod to the great Harpo.
Lynn Redgrave made the role of Georgy so much her own it's difficult to believe the story that Vanessa Redgrave had been originally intended for it -- and even more difficult to imagine Vanessa playing scenes with Rampling.
The title song became a big hit at the time. In the film, the lyrics vary somewhat from the pop version, serving to set up the plot during the opening credits and then comment on its resolution at the end. In between, the song politely vanishes, leaving the classically influenced score by Alexander Faris to take over with its harpsichord riffs and its subtle playfulness. I especially liked the violin solo that accompanies the transition from orgasm to morning sickness.
The dialogue is often fast, overlapping, thrown away, or contains obscure (to me) cultural references, so it's worth enabling the English subtitles for DVD viewing. You wouldn't want to miss "Moss Bros", or Alan Bates' rapid-fire disrobing monologue, or Meredith's contempt for the concert at which she has just played violin: "Beethoven night. They're like animals."
Charlotte Rampling's Meredith is my favorite of the four main characters. Rampling has always been physically stunning, but it's her moody intellect within that keeps Meredith modern rather than a 60s icon who looks sensational in Mary Quant mini-dresses, a darker version of Julie Christie in "Darling" (a character who didn't have too much of a light side herself). Meredith is cool, in control, self-serving, brutal, and surprisingly honest about who she is. "You take me as me," she tells Jos (Alan Bates) as she cajoles him into marrying her, not so much because she's pregnant but because she's bored. It seems in Meredith's view, you can easily get rid of a pregnancy, but boredom requires more skill and is potentially a worse situation in which to find yourself. Other actresses could have successfully made Meredith a bitch, but Rampling makes her fascinating and thus strangely likable. When she exits the film, things go a bit limp, but then there's little left than to move the story to its inevitable conclusion.
Alan Bates plays Jos with such high physical and verbal energy he seems to be all the Marx Brothers rolled into one. His facial expression at the culmination of his strip during the 'I Love You' sequence suggested to me a nod to the great Harpo.
Lynn Redgrave made the role of Georgy so much her own it's difficult to believe the story that Vanessa Redgrave had been originally intended for it -- and even more difficult to imagine Vanessa playing scenes with Rampling.
The title song became a big hit at the time. In the film, the lyrics vary somewhat from the pop version, serving to set up the plot during the opening credits and then comment on its resolution at the end. In between, the song politely vanishes, leaving the classically influenced score by Alexander Faris to take over with its harpsichord riffs and its subtle playfulness. I especially liked the violin solo that accompanies the transition from orgasm to morning sickness.
The dialogue is often fast, overlapping, thrown away, or contains obscure (to me) cultural references, so it's worth enabling the English subtitles for DVD viewing. You wouldn't want to miss "Moss Bros", or Alan Bates' rapid-fire disrobing monologue, or Meredith's contempt for the concert at which she has just played violin: "Beethoven night. They're like animals."
"No matter what I want...God always has a custard pie up His sleeve."
moonspinner555 May 2009
Marvelous film, an extension of the British kitchen-sink dramas from earlier in the decade (but with a friskier spirit), "Georgy Girl" introduced audiences to Vanessa Redgrave's kid sister, Lynn (in an Oscar-nominated performance). She's plain and frumpy Georgina, a too-tall, kissless clown and nursery school teacher who plays second-fiddle to her more beautiful flat-mate--and who also harbors a crush on her pal's sexy boyfriend in the bargain. While dodging the advances of her father's wealthy employer, Georgina acts as nursemaid to her pregnant roommate, never dreaming of the circumstances to follow. From Margaret Forster's novel, which she co-adapted with Peter Nichols, the film is visually alive, stylish and skittering about with "free and easy" abandon, yet with moral choices and a sobering heart at its center. Redgrave is nothing short of fabulous; her "Georgy" is often slumped over sulking, an easy mark with little sense of humor (she's either completely inflexible or terribly over-eager). The clever, enticing writing is spread about for everyone to share in--so much so that the supporting characters nearly upstage our heroine (whose moods tend to be exasperating near the end): Charlotte Rampling is excellent as pregnant Meredith (who gets the film's most viciously funny lines); Alan Bates is terrific as her devilish lover; while Oscar-nominated James Mason is too comfortably cast as the older man with an eye for Georgy (he isn't able to offer anything fresh here). Delightful comedy-drama from director Silvio Narizzano, one of the few from this era not to use 'mod' touches to set the time and place. *** from ****
its time for jumping down from the shelf, a little bit
mosoul24 December 2004
Good performances from Redgrave, Mason, Rampling and Bates. A modest film that found international approval. In 1966, while it may have seemed shocking to hear UK girl Charlotte Rampling tell Alan Bates that she had "destroyed" two of his already, it's worth remembering that an American girl couldn't have a legal abortion unless there were extenuating circumstances. Roe v. Wade was still several years away. The wholesome longings of Goergie are sharply contrasted with her roommate, the ice cold Meredith. The lead was originally offered to Vanessa Redgrave and when she backed out her younger sister Lynne was cast. She was overwhelmingly brave playing Georgie as a girl you liked enough that when she does something embarrassing you can't help but flinch. It happens a lot. As she falls and fails she finds a life of her own. And that is oddly inspirational.
overall, I recommend it
San779922 July 2005
Overall, I recommend this flick. I particularly liked the character of Georgy ...the way she tries to cover up any vulnerability with wit/ spunk..she MAKES the movie. But I can't help be bummed at the ending. Rationally, I approve of the ending, but find it disappointing at the same time..... It was more sensible,plausible and had more integrity than if they'd kept Georgy & Jos together...but...but... James Mason creeped me out through the whole movie (I mean, he watched her grow up..the old lecher!) and Alan Bates was soo ADORABLE (yes, he was selfish & immature too, I KNOW. He had potential for change??Maybe??) I supposed I'm just biased, Alan Bates (Alan Bates of the late '60s & '70s that is)being up there on my list of unconventional crushes.
winning performances
SnoopyStyle18 January 2015
Warning: Spoilers
Georgina Parkin (Lynn Redgrave) is a chubby frumpy well-educated outgoing talented young lady. Her parents are live-in servants to rich businessman James Leamington (James Mason) who starts to have romantic feelings for her who he had known as a child. He's in a loveless marriage and wants Georgy to sign a contract as his mistress. She lives with beautiful flirtatious Meredith (Charlotte Rampling) who's dismissive of Georgy. Meredith finds that she's pregnant and figures marrying her boyfriend Jos Jones (Alan Bates) as something different. He moves in with Meredith and Georgy. James' wife dies.
Lynn Redgrave is adorably engaging as the chubby girl of the two. She is hilarious and perfectly reasonable why everybody loves her. Also she's so wacky as a character. It's a slice of swinging 60s London and the changing of the times. The rest of the characters are pretty horrible people which does tend to make the tone uneven. The performances are great. It's not all a light frolic. However there is nothing funnier than when James shows Georgy the contract for the first time.
Lynn Redgrave is adorably engaging as the chubby girl of the two. She is hilarious and perfectly reasonable why everybody loves her. Also she's so wacky as a character. It's a slice of swinging 60s London and the changing of the times. The rest of the characters are pretty horrible people which does tend to make the tone uneven. The performances are great. It's not all a light frolic. However there is nothing funnier than when James shows Georgy the contract for the first time.
Sugar Daddy's Girl...
Xstal8 May 2023
Georgina Parkin is a little bit naive, and she wears innocent heart, front and back, and on her sleeve, she's intelligent and bright, quite self-conscious of her plight, not particularly forthright, don't deserve what she receives; has a father plus a father figure who, at 49 (looks a lot older if you ask me) wants 22, to attend to, all the things his wife's unable, to spread out upon the table, let him consume and deplume the ingénue. Now Georgy shares a flat with Meredith, she has a fella name of Jos she spends time with, although it's reasonable to say, she likes to vary where she plays, a promiscuous, and wild type of miss. But it's quite tricky when you fancy your mates lover, that is, until he plays his cards and you discover, that there could just be a maybe, even though girlfriend's with a baby, in a complicated tale, someone will suffer.
An of its time story that doesn't age quite as well as some 60s dramas, although the performances are great and from some rather talented actors who went on to much greater things.
An of its time story that doesn't age quite as well as some 60s dramas, although the performances are great and from some rather talented actors who went on to much greater things.
Hey There, Georgy Girl! - What a Wonderful Story!
thursdays5 June 2004
Warning: Spoilers
Lynn Redgrave and James Mason are perfectly cast as the pudgy, ugly duckling Georgy and the lonely, aging millionaire who adores the young woman without means. Redgrave's roommate is a cold-hearted and embittered woman, who banks on her good looks to get her what she wants out of life. Although the roommate becomes pregnant by her fiancee, the young man soon realizes that he fancys the homely but sweet Georgy over the constantly complaining woman about to give birth to his child. The baby is born and is instantly rejected by the mother. Georgy is determined to protect the innocent child and to bring her up by herself, if she had to. The ending is one of my favorite film conclusions ever. You will not be disappointed!
This film was ahead of its time in 1966 England (and the world). Despite the progressive themes, both the film and its infectious theme song became enormous successes. If you know the song, look for a much more elaborate rendition in the film, featuring many extra lines. The same was done with the legendary "Song From Moulin Rouge" (1952). -- "Georgy Girl" receives my highest recommendation!*****
This film was ahead of its time in 1966 England (and the world). Despite the progressive themes, both the film and its infectious theme song became enormous successes. If you know the song, look for a much more elaborate rendition in the film, featuring many extra lines. The same was done with the legendary "Song From Moulin Rouge" (1952). -- "Georgy Girl" receives my highest recommendation!*****
Redgrave is magnificent here.
MOscarbradley14 February 2019
Warning: Spoilers
Not quite 'the kitchen sink' but very much in the same ballpark, Silvio Narizzano's "Georgy Girl" came late in the 'genre', (1966), and was a lot less downbeat and depressing than many of the films that came before it, (it's even got a happy ending). You could call it a 'dramedy', not quite a comedy and not quite a drama. In the title role of the frumpy heroine, relative newcomer Lynn Redgrave is quite magnificent. It's a star-making performance if I ever saw one. As her father's employer who asks Georgy to be his mistress and even draws up a contract, James Mason is equally superb; both he and Redgrave were Oscar-nominated for their performances and a young Charlotte Rampling is terrific as the bitch who shares a flat, (and a boyfriend), with Redgrave. He's Alan Bates and he's the blot on the picture; his is an annoying and unfunny 'comic' performance and when he's on screen, which is much too often, the film becomes a kind of surreal farce like a poor man's, or woman's, version of "The Knack". Nevertheless, it's well directed by Narizzano whose career never really went anywhere, (he did direct Tallulah Bankhead in "Fanatic" and made the highly unusual Terence Stamp western "Blue"), and is certainly worth seeing.
Its Alan Bates film.
petersj-221 October 2005
It was wonderfully interesting reading the reviews; even the ones I disagree with. All the performances are wonderful and as for the Seekers title song it will always give me goose bumps. I think its this movie that really introduced Alan Bates, at any rate I certainly sat up and noticed. I love his performance in this film. He is a rogue that you cannot help but fall in love with. I love the way the film opens especially the pulse of a London that has sadly long gone. Lyn Redgraves big production number is a real hoot and I agree with the comments about James Mason. What a gifted actor he was. Bates is however the real reason why I love the movie. I confess I had an enormous crush on Bates in this role and that scene when you see his bum as he gets out of the bath well, enough said. Lyn Redgrave, James Mason and the remarkable Rampling are all marvelous.
I only rated it a 6 but certain moments in this film are very instructive
occupant-14 September 2001
A crazy-quilt plot and lack of any great quest prevent any major statement from being made here, but note Rampling's contribution as the girl who doesn't want her baby. She's playing an horrendous character but doing it flawlessly, displaying a technique I'd use if playing a villain - total disregard for any ethical concern! It's a hard frame of mind to portray for most people; here's a primer for actors presented with such a problem.
The stark sets and street shots, the crisp B&W contrasts and to an extent the costuming create a picture of London that's more comprehensive than neon-only Carnaby Street portrayals in other films.
The stark sets and street shots, the crisp B&W contrasts and to an extent the costuming create a picture of London that's more comprehensive than neon-only Carnaby Street portrayals in other films.
I should see it again...
miriamkgross918 April 2008
Warning: Spoilers
This film gets seven out of ten on acting alone. James Mason is perfectly creepy, and yet you can still sympathize with him. Lynn Redgrave is just... perfect for the part. And Alan Bates.... yes I confess it, I had a crush on him too. Favorite scene: the alternating, silent close-ups between Georgy and Jos, as Jos slowly realizes that he is, in fact, in love with Georgy (before following her around half of London yelling "I love you!" at the top of his lungs!!!)
I seem to recall that the ending was somewhat disturbing for me when I originally watched it... I wonder how I would feel about it now. Most reviewers I've read seem to believe that Georgy has found herself in the end; I disagree. I leave individual viewers to make up their own minds.
I seem to recall that the ending was somewhat disturbing for me when I originally watched it... I wonder how I would feel about it now. Most reviewers I've read seem to believe that Georgy has found herself in the end; I disagree. I leave individual viewers to make up their own minds.
Rich man you've got yourself a baby.
johnrgreen25 May 2019
Warning: Spoilers
An example of the realistic British cinema of the 60s but with quirky comic overtones, it can't escape its novelistic origins.Bates' character is annoyingly goofy, Rampling's a selfish party animal.Somehow it didn't quite make a satisfying transfer to film.The plain girl sort of wins in the end but maybe she wanted the baby more than the rich husband.
British Nouvelle Vague
Benedict_Cumberbatch11 February 2008
I watched this movie mostly for Lynn Redgrave, expecting nothing more than an old, light-hearted British comedy. It was better than I expected; "Georgy Girl" is a lovely, bittersweet dramedy clearly inspired by American screwball comedies of the 30's and the French New Wave that was burning in the 60's (to see how much the Nouvelle Vague aesthetics influenced British cinema, check the also remarkable "Two for the Road", with Albert Finney and Audrey Hepburn).
Redgrave, fantastic as usual, plays Georgy, a scatter-brained working-class virgin with a golden heart. She shares a flat with a selfish, cold bitch (Charlotte Rampling), who gets pregnant of Jos (Alan Bates), and the three of them eventually move together; but things get complicated as Georgy is courted by Jos and James (James Mason), a much older man, at the same time.
Bates (is it just me, or does he look like Jean-Paul Belmondo - one of the greatest Nouvelle Vague icons because of Godard's "Breathless" - in this?), Rampling and Mason are all great in their respective parts, but this is Redgrave's show all the way. Her anti-heroine is sweet and memorable, somewhat similar to Toni Collette's Muriel Heslop (from "Muriel's Wedding"), some sort of a British, less patient and clumsier Amélie Poulain (Audrey Tautou). Georgy singing "Whole Lotta Woman" is a classic scene. Lynn's performance alone would make this movie worth seeing, but she's not the only good thing about it, just the core. 10/10.
Redgrave, fantastic as usual, plays Georgy, a scatter-brained working-class virgin with a golden heart. She shares a flat with a selfish, cold bitch (Charlotte Rampling), who gets pregnant of Jos (Alan Bates), and the three of them eventually move together; but things get complicated as Georgy is courted by Jos and James (James Mason), a much older man, at the same time.
Bates (is it just me, or does he look like Jean-Paul Belmondo - one of the greatest Nouvelle Vague icons because of Godard's "Breathless" - in this?), Rampling and Mason are all great in their respective parts, but this is Redgrave's show all the way. Her anti-heroine is sweet and memorable, somewhat similar to Toni Collette's Muriel Heslop (from "Muriel's Wedding"), some sort of a British, less patient and clumsier Amélie Poulain (Audrey Tautou). Georgy singing "Whole Lotta Woman" is a classic scene. Lynn's performance alone would make this movie worth seeing, but she's not the only good thing about it, just the core. 10/10.
Georgy Second Best
Lejink2 June 2020
Warning: Spoilers
The tone of this "Swinging 60's"-era movie is set within the first few minutes with its shots of the carefree title character played by Lynn Redgrave frolicking down the street to the backdrop of the Seekers' whistle-along, super-catchy title song the lyric of which in fact cleverly acts as a sort of commentary on proceedings and so informs much of the plot.
Georgy is the plainer, more homely sister to Charlotte Rampling's Meredith, a prettier and more glamorous but selfish and bitchy fun-seeker who's happy to share Georgy's flat with her madcap boyfriend Jos, played by Alan Bates, as well as generally using and abusing them both as she personifies the so-called modern girl. When she's not teaching music to young children, Georgy has to endure the withering disdain of her parents, both of whom are in service to James Mason's wealthy but unhappily married Northern businessman James Leamington, who, strongly supported in this by her toadying dad, Bill Owen, relentlessly pursues Georgy to the extent of offering her a "mistress contract" before his unloved, ailing wife conveniently dies, clearing the way for him to renew his attempted conquest of our heroine.
Things get even more complicated when Meredith gets pregnant (again!) to Jos, but this time, rather than have an abortion like twice before, is persuaded by Georgy and Jos to agree to marry Jos and have the baby against her better judgement for them all to cosily live together in the flat. But something happens on the way to baby heaven changing the relationship between the three young principals before winding up with an ending that manages to rope in the old lech Leamington too.
Quite racy for its time I'd imagine in its treatment of relationships and more specifically adultery, abortion and pre-marital sex, the film is enlivened by the enthusiastic playing of Redgrave, Bates, whose Y-fronts I never, ever want to see again and Rampling, in an unsympathetic role, supported by the experienced playing of seasoned character actors like Mason and Owen. Peppy and irreverent and with many scenes shot in and around London's Belsize Park district, the film can be seen perhaps as the feminine-viewpoint less-shiny side of the coin bearing Michael "Alfie" Caine's smiling face.
In the end, Georgy (and everyone else, come to that) sort of gets what she wants (a little bit) in an imperfect world, thus marking her out as not quite the soft touch she at first seems to be in a film which despite its black and white cinematography, showed an entertainingly lighter treatment of the kitchen-sink-drama style of film-making then holding away in British cinema.
Georgy is the plainer, more homely sister to Charlotte Rampling's Meredith, a prettier and more glamorous but selfish and bitchy fun-seeker who's happy to share Georgy's flat with her madcap boyfriend Jos, played by Alan Bates, as well as generally using and abusing them both as she personifies the so-called modern girl. When she's not teaching music to young children, Georgy has to endure the withering disdain of her parents, both of whom are in service to James Mason's wealthy but unhappily married Northern businessman James Leamington, who, strongly supported in this by her toadying dad, Bill Owen, relentlessly pursues Georgy to the extent of offering her a "mistress contract" before his unloved, ailing wife conveniently dies, clearing the way for him to renew his attempted conquest of our heroine.
Things get even more complicated when Meredith gets pregnant (again!) to Jos, but this time, rather than have an abortion like twice before, is persuaded by Georgy and Jos to agree to marry Jos and have the baby against her better judgement for them all to cosily live together in the flat. But something happens on the way to baby heaven changing the relationship between the three young principals before winding up with an ending that manages to rope in the old lech Leamington too.
Quite racy for its time I'd imagine in its treatment of relationships and more specifically adultery, abortion and pre-marital sex, the film is enlivened by the enthusiastic playing of Redgrave, Bates, whose Y-fronts I never, ever want to see again and Rampling, in an unsympathetic role, supported by the experienced playing of seasoned character actors like Mason and Owen. Peppy and irreverent and with many scenes shot in and around London's Belsize Park district, the film can be seen perhaps as the feminine-viewpoint less-shiny side of the coin bearing Michael "Alfie" Caine's smiling face.
In the end, Georgy (and everyone else, come to that) sort of gets what she wants (a little bit) in an imperfect world, thus marking her out as not quite the soft touch she at first seems to be in a film which despite its black and white cinematography, showed an entertainingly lighter treatment of the kitchen-sink-drama style of film-making then holding away in British cinema.
More than an counter-swinging-6os manifestation
lasttimeisaw20 June 2016
Warning: Spoilers
Welcome to the swinging London in the 1960s, this is not a blasé romance comedy about the "it" girl, Meredith (Rampling, barely reaches 20), a modish violinist and party animal, but about her more plain-looking bestie-cum-roommate Georgina, aka. Georgy (Redgrave), the daughter of Ted (Owen) and Doris (Kelly), both work (as the butler and housekeeper) for a rich socialite, the 49- year-old James Leamington (Mason) - this is supposedly to a joke, right? It is impossible for Mr. Mason to pass himself off as that age, he could be well into his 60s judged by his appearance here.
Mr. Leamington has tender affection for Georgy, the young and immature daughter of his loyal butler, he has been taking her under his wings through all her life, so on the night of his 49-year- old birthday, he offers a "business" proposal to her and ask her to be his mistress. Just like that, no shame for the gaping age-difference (Georgy is 22 by the way), James is farcical but sincere, he has no pretence, but, no young girl with a scant dosage of self-esteem will say yes immediately to the amoral offer, after a tentative kiss (of course, initiated by James), Georgy starts to dodge him for an answer which she hasn't figured out yet, in such an impressionable age, she even hadn't been kissed before, naturally, her heart is hankering for Jos Jones (Bates), the boyfriend of Meredith, a handsome, but flaky young man.
There is an earnest agency of Georgy's predicament, she is a misfit of the trendy milieu and deeply insecure about her modest appeal, she envies the passion between Meredith and Jos, and cannot find her toehold in the quasi ménage-à-trois situation, not until Meredith capriciously decides to keep the baby when she gets pregnant a third time and marries Jos, a radical means to alleviate the boredom of status quo, which only fiercely backfires since she is not a mother material, Rampling is smouldering with vexation and implacably flaunts her fickleness which would later become her trademark in her eclectic body of work - a chic beauty with piercing coldness and seething vehemence.
So, when Meredith ditches both her newborn girl and her hubby Jos, it seems that a nuclear family finally comes into being for Georgy, whose maternal nature has been unstoppably awaken ever since Meredith's pregnancy, she takes the baby Sara as her own and harvests Jos' adoration, but, can a puerile Jos take up the duty of being a father? Remember once during their habitual bickering, Meredith and Jos curse each other "bastard" and "whore", which turns out to be quite true. Georgy must learn to accept the reality check, and things will not be too shabby for her, since James' offer is still viable, what's more satisfactory? He is now offering a marriage after the death of his wife.
From the skeletal structure, GEORGY GIRL dashes off as an counter-swinging-6os manifestation of a young girl who is inelegantly against the grain, aspiring to settle in a more conventional role of motherhood, which could purposefully serve as a propaganda for the conservatives to dope women back into domestic complacency, but, the film doesn't submit to this myopia, with an uglified Lynn Redgrave carries on her star-making role fervently (she was warranted with her first Oscar nomination), and her Oscar-nominated co-star Mason's mellifluous wooing, in the end of the day, there is a slice of life in the ugly duckling's fairy-tale, she doesn't transform to the swan simply because she is not that kind, and doesn't stays with her knight-in-shining-armour since he is a nutcase, childish and unstable (one might find Bates' acting style a bit laboured and jarring here), she marries more for the convenience than affection, there might not be a happy-ever-after scenario, but that's what she can make the best of her current situation, that's wisdom whoever lives in the real world must learn and we are glad to see her finally latch onto that, like the titular hit theme song sung by THE SEEKERS "life is a reality and you can't always run away", go for it! Georgy Girl!
Mr. Leamington has tender affection for Georgy, the young and immature daughter of his loyal butler, he has been taking her under his wings through all her life, so on the night of his 49-year- old birthday, he offers a "business" proposal to her and ask her to be his mistress. Just like that, no shame for the gaping age-difference (Georgy is 22 by the way), James is farcical but sincere, he has no pretence, but, no young girl with a scant dosage of self-esteem will say yes immediately to the amoral offer, after a tentative kiss (of course, initiated by James), Georgy starts to dodge him for an answer which she hasn't figured out yet, in such an impressionable age, she even hadn't been kissed before, naturally, her heart is hankering for Jos Jones (Bates), the boyfriend of Meredith, a handsome, but flaky young man.
There is an earnest agency of Georgy's predicament, she is a misfit of the trendy milieu and deeply insecure about her modest appeal, she envies the passion between Meredith and Jos, and cannot find her toehold in the quasi ménage-à-trois situation, not until Meredith capriciously decides to keep the baby when she gets pregnant a third time and marries Jos, a radical means to alleviate the boredom of status quo, which only fiercely backfires since she is not a mother material, Rampling is smouldering with vexation and implacably flaunts her fickleness which would later become her trademark in her eclectic body of work - a chic beauty with piercing coldness and seething vehemence.
So, when Meredith ditches both her newborn girl and her hubby Jos, it seems that a nuclear family finally comes into being for Georgy, whose maternal nature has been unstoppably awaken ever since Meredith's pregnancy, she takes the baby Sara as her own and harvests Jos' adoration, but, can a puerile Jos take up the duty of being a father? Remember once during their habitual bickering, Meredith and Jos curse each other "bastard" and "whore", which turns out to be quite true. Georgy must learn to accept the reality check, and things will not be too shabby for her, since James' offer is still viable, what's more satisfactory? He is now offering a marriage after the death of his wife.
From the skeletal structure, GEORGY GIRL dashes off as an counter-swinging-6os manifestation of a young girl who is inelegantly against the grain, aspiring to settle in a more conventional role of motherhood, which could purposefully serve as a propaganda for the conservatives to dope women back into domestic complacency, but, the film doesn't submit to this myopia, with an uglified Lynn Redgrave carries on her star-making role fervently (she was warranted with her first Oscar nomination), and her Oscar-nominated co-star Mason's mellifluous wooing, in the end of the day, there is a slice of life in the ugly duckling's fairy-tale, she doesn't transform to the swan simply because she is not that kind, and doesn't stays with her knight-in-shining-armour since he is a nutcase, childish and unstable (one might find Bates' acting style a bit laboured and jarring here), she marries more for the convenience than affection, there might not be a happy-ever-after scenario, but that's what she can make the best of her current situation, that's wisdom whoever lives in the real world must learn and we are glad to see her finally latch onto that, like the titular hit theme song sung by THE SEEKERS "life is a reality and you can't always run away", go for it! Georgy Girl!
A SONG FOR ALL TIMES
clave12 June 2021
Endearing film, fantastic stars and one of the greatest songs ever written for a film. Not only is it a masterpiece in itself but its rendition by The Seekers represents both the swinging sixties and the existential angst of a generation witnessing their empire breaking apart.
Surprisingly engaging and moving
groening-225 July 2006
A movie that starts and ends with an ingratiatingly contagious pop song would portend to be as substantive as a Fluffer Nutter sandwich. But Georgy Girl is surprisingly engaging, and tugs at far more profound emotions than those tapped by, say, Bridget Jones' Diary, which might be seen as a modern equivalent.
The song -- or actually, two different version of the same song -- is essential to understanding the movie, which makes one wonder which came first. Was the song inspired by the novel, or was it written for the movie? The opening, like a music video, introduces us to Georgina, or Georgy, and to her plight as a terribly un-chic 60s chick. But what makes Georgy interesting is that she clearly doesn't care that she's out of sync with Swinging London, circa 1966.
The timing of the film is also critical, just as it was with The Graduate. The London youth scene we are introduced to -- in black and white, no less -- is one in which conventional morals and values are being shed, yet there is still an innocence about it. The decadence that would taint the later '60s is hinted at in the troubles Georgy's roommate, the seemingly hip and carefree Meredith, faces in the latter half of the film. And the character of Jos, Meredith's boyfriend and then husband, also embodies the joie de vivre spirit of the day, but then crashes into the dead end that inevitably comes when a man lives like a child (even one of the flower variety).
Georgy's relationship with her father's employer, James (played by James Mason), is troubling in its incestuous overtones, but maybe the discomfort the viewer feels is intended.
My only gripe is that the conclusion of the film -- when we learn what Georgy is really all about, what she wants out of life -- is explained in the song, and not as clearly revealed in the plot or character exposition. But I suppose that lends a certain charm to the story, as if Georgy is indeed living inside a pop tune.
Georgy Girl, though very much of its time, is not dated, and explores choices we all make within a unique context, that of a moment in time when culture and values began tilting off their axis.
The song -- or actually, two different version of the same song -- is essential to understanding the movie, which makes one wonder which came first. Was the song inspired by the novel, or was it written for the movie? The opening, like a music video, introduces us to Georgina, or Georgy, and to her plight as a terribly un-chic 60s chick. But what makes Georgy interesting is that she clearly doesn't care that she's out of sync with Swinging London, circa 1966.
The timing of the film is also critical, just as it was with The Graduate. The London youth scene we are introduced to -- in black and white, no less -- is one in which conventional morals and values are being shed, yet there is still an innocence about it. The decadence that would taint the later '60s is hinted at in the troubles Georgy's roommate, the seemingly hip and carefree Meredith, faces in the latter half of the film. And the character of Jos, Meredith's boyfriend and then husband, also embodies the joie de vivre spirit of the day, but then crashes into the dead end that inevitably comes when a man lives like a child (even one of the flower variety).
Georgy's relationship with her father's employer, James (played by James Mason), is troubling in its incestuous overtones, but maybe the discomfort the viewer feels is intended.
My only gripe is that the conclusion of the film -- when we learn what Georgy is really all about, what she wants out of life -- is explained in the song, and not as clearly revealed in the plot or character exposition. But I suppose that lends a certain charm to the story, as if Georgy is indeed living inside a pop tune.
Georgy Girl, though very much of its time, is not dated, and explores choices we all make within a unique context, that of a moment in time when culture and values began tilting off their axis.
A Smashing Mod film for all ages!
NutzieFagin12 March 2013
Warning: Spoilers
If you need a quick synopsis of the plot line for Goergy Girl, listen to the lyrics of the intro song Goergy Girl at the beginning of the movie.
Sweet Georgina, a lonely British girl in the 60's dreams of what usually some unattractive, overweight girls wish for. A knight with shining armor to sweep her off her feet, marry her and live happily ever after in a castle with an adoring husband and especially lots of children.
Well... as you may know, life does not turn out like we wish. Georgina or better known as "Georgy" does have an admirer. He is her parents employer, James Learnington, played by the stately James Mason, a wealthy, soon to be widowed, slightly lecherous millionaire who is captivated by Georgy's youth, wit and charm. Because of his fondness for Georgy he seems to treat her parents (his servants) almos6 like family and allows Georgy to teach a kindergarten/dance class in his home. But Georgy still craves to be like her room mate, vain, conceited Meredith who is is popular with all men and the IN crowd. Meredith's boyfriend, Joes, a clownish, childlike man, follows Meredith around like a love starved puppy and overlooks her catty abusive behavior. Suddenly, Meredith announces "she's bored" ...and pregnant and this two, who really make the image for bad parents decide to get married. Georgy, a true blue friend and the usual third wheel, supports their decision and provides gifts for the baby from her senior admirer.
But as expected, selfish Meredith and irresponsible Joes are not the picture of good parents. Now Georgy makes a decision...what to wish for or what can she go after and get because she has fallen in love with their baby and she wants to adopt her.
Georgy Girl is a modern tale of a girl who breezes thru life with a sort of low self esteem. But she has a happy ending because like the Wizard of OZ, she realizes she has what she wants in her own backyard and she has the ability to get it. The acting is very good and this movie launched the career for Lynn Redgrave. Also, with a good Supporting cast, a well written screen play, and like the pop song, Georgy Girl by The Seekers, it is a fresh and bouncy British film.
Sweet Georgina, a lonely British girl in the 60's dreams of what usually some unattractive, overweight girls wish for. A knight with shining armor to sweep her off her feet, marry her and live happily ever after in a castle with an adoring husband and especially lots of children.
Well... as you may know, life does not turn out like we wish. Georgina or better known as "Georgy" does have an admirer. He is her parents employer, James Learnington, played by the stately James Mason, a wealthy, soon to be widowed, slightly lecherous millionaire who is captivated by Georgy's youth, wit and charm. Because of his fondness for Georgy he seems to treat her parents (his servants) almos6 like family and allows Georgy to teach a kindergarten/dance class in his home. But Georgy still craves to be like her room mate, vain, conceited Meredith who is is popular with all men and the IN crowd. Meredith's boyfriend, Joes, a clownish, childlike man, follows Meredith around like a love starved puppy and overlooks her catty abusive behavior. Suddenly, Meredith announces "she's bored" ...and pregnant and this two, who really make the image for bad parents decide to get married. Georgy, a true blue friend and the usual third wheel, supports their decision and provides gifts for the baby from her senior admirer.
But as expected, selfish Meredith and irresponsible Joes are not the picture of good parents. Now Georgy makes a decision...what to wish for or what can she go after and get because she has fallen in love with their baby and she wants to adopt her.
Georgy Girl is a modern tale of a girl who breezes thru life with a sort of low self esteem. But she has a happy ending because like the Wizard of OZ, she realizes she has what she wants in her own backyard and she has the ability to get it. The acting is very good and this movie launched the career for Lynn Redgrave. Also, with a good Supporting cast, a well written screen play, and like the pop song, Georgy Girl by The Seekers, it is a fresh and bouncy British film.
So ahead of its time
psylake1 January 2008
Georgy Girl is an amazing film that's was in the front of a new wave of more realistic, unblinking films by the Brits. The film doesn't flinch when depicting or talking about accidental pregnancy, abortion, mothers not interested in their babies. They're just a part of life, nothing to moralize about or to spotlight as big drama. Imagine any film from the U.S. in the mid 1960s taking on these issues at all, much less in the matter-of-fact way that Georgy Girl does. Georgy Girl and Darling strike me as two mid-60's British films that herald a new age--greater reality; women's freedom to choose partners and to define their romantic and sexual connections in their own way. Another very modern aspect of the film is the absence of any person taking the moral high ground; every character is on their own, and depicted irreverently, with warts, but also warmly.
The talented Miss Redgrave gave this film its centre, heart, soul - and sense
trimmerb123412 April 2020
Nicely shot in black and white this is an unsatisfactory mix of the three then overlapping British cinema fashions: Kitchen Sink, Swinging London and the over-cranked style Beatles vehicles here severely afflicting Alan Bates. It conspicuously predates the sexual-liberation revolution of just a few years later - the author lived as a young woman in the pre-pill era. Georgy has little interest in sex, she just wants to be a mum.
Men are exclusively harshly portrayed: first the parody feckless Alan Bates character. Second the ageing money-bags (James Mason) who attempts to employ Georgy under business contract as his mistress. Third, Georgy's father who, as money-bag's butler, is entirely focussed on getting his daughter somehow hooked up to his employers wealth.
The Charlotte Rampling character - petite, perfect, wilful and hateful - is a female monster - an early portrayal of a Sloane-Ranger - children of wealthy upper-class parents. That she is a talented violinist and plays in an orchestra is given no weight or meaning. The writer has packaged her hatred for the character, and by extension the social class, by writing her as an unredeemed 2D monster.
It is Georgy the Good, the large gawky Lynn Redgrave character who is mother courage - doing the right things, never even wanting to do the wrong thing. In a short fantasy? scene, Lynn Redgrave, dressed and made up, demonstrates that she can dazzle. But it is the unassuming, dutiful and modest, bearing ill-will to none which runs throughout. I've not read the book - perhaps it had more to offer than the film
Men are exclusively harshly portrayed: first the parody feckless Alan Bates character. Second the ageing money-bags (James Mason) who attempts to employ Georgy under business contract as his mistress. Third, Georgy's father who, as money-bag's butler, is entirely focussed on getting his daughter somehow hooked up to his employers wealth.
The Charlotte Rampling character - petite, perfect, wilful and hateful - is a female monster - an early portrayal of a Sloane-Ranger - children of wealthy upper-class parents. That she is a talented violinist and plays in an orchestra is given no weight or meaning. The writer has packaged her hatred for the character, and by extension the social class, by writing her as an unredeemed 2D monster.
It is Georgy the Good, the large gawky Lynn Redgrave character who is mother courage - doing the right things, never even wanting to do the wrong thing. In a short fantasy? scene, Lynn Redgrave, dressed and made up, demonstrates that she can dazzle. But it is the unassuming, dutiful and modest, bearing ill-will to none which runs throughout. I've not read the book - perhaps it had more to offer than the film
Undiscovered witty girl kisses toad; later finally finds prince
knutsenfam24 May 2004
So fun! And a few other little gems in this mod 60's film!
Other reviews here will give you a plot overview. Basically Georgy is the fun, vivacious but unpopular girl who eventually gets some of her dreams, tho with a price.
I wouldn't have been allowed to see Georgy Girl when it came out. I was too young & the (by today's standards modest) 1960's bedroom scenes meant Mom would say "NO!" It's not a suitable family film.
But now---I'd love to watch it with my teenage daughter & comment on how Georgy --hardly noticed by her parents---chased by her parents' employer---and loved by a ne'er do well "Peter Pan" finally comes out rather well!
Georgy Girl is that odd little chick flick film where many of us women (girls) can identify with the fun, attractive, but slightly awkward lead, played marvelously by Lynn Redgrave. Some may root for Alan Bates' JOS character, but middle-aged me knows a "toad" --however handsome---when I see one.
And James Mason's "rich James Leamington" is a prince with some moral "warts" to work out... but I cheer for him, because he is (however he might disguise it) essentially a chivalrous man, a shy man who absolutely adores Georgina and, as she says to him "you said you would do anything for me" totally devoted to her...
Watch scenes where Mr. Leamington and Georgy's father discuss her. Watch Mason's facial expressions closely to see why he was Oscar nominated-- (the director was rather stingy with closeups in key moments).
Georgy's parents don't particularly like her---and see only the duckling and not the emerging swan.
Note that Georgy gradually assumes control of James, as she first shows fear when she sees Leamington, but later it's "Poor James". A foreshadowing of their future?
And I love it in the scene when Georgy (and James in top hat & fancy apparel) haul the baby carriage he was asked to buy for Georgy's adopted baby Sarah up the many stairs to her apartment.
She gets back at James by some cheeky comments in front of two proper elderly ladies. (Watch her interactions with both suitors... she can demonstrate wit and charm...)
Tho the Georgy Girl film theme song by the Seekers sneers at Georgy "...a little bit", I suspect this film was big because it struck a chord with so many girls & women. Sort of like the Janice Ian song "At Seventeen" in the 1970's.
Finally on DVD, but no "extras". But check Lynn Redgrave's site for more "Georgy" photos & info!
Other reviews here will give you a plot overview. Basically Georgy is the fun, vivacious but unpopular girl who eventually gets some of her dreams, tho with a price.
I wouldn't have been allowed to see Georgy Girl when it came out. I was too young & the (by today's standards modest) 1960's bedroom scenes meant Mom would say "NO!" It's not a suitable family film.
But now---I'd love to watch it with my teenage daughter & comment on how Georgy --hardly noticed by her parents---chased by her parents' employer---and loved by a ne'er do well "Peter Pan" finally comes out rather well!
Georgy Girl is that odd little chick flick film where many of us women (girls) can identify with the fun, attractive, but slightly awkward lead, played marvelously by Lynn Redgrave. Some may root for Alan Bates' JOS character, but middle-aged me knows a "toad" --however handsome---when I see one.
And James Mason's "rich James Leamington" is a prince with some moral "warts" to work out... but I cheer for him, because he is (however he might disguise it) essentially a chivalrous man, a shy man who absolutely adores Georgina and, as she says to him "you said you would do anything for me" totally devoted to her...
Watch scenes where Mr. Leamington and Georgy's father discuss her. Watch Mason's facial expressions closely to see why he was Oscar nominated-- (the director was rather stingy with closeups in key moments).
Georgy's parents don't particularly like her---and see only the duckling and not the emerging swan.
Note that Georgy gradually assumes control of James, as she first shows fear when she sees Leamington, but later it's "Poor James". A foreshadowing of their future?
And I love it in the scene when Georgy (and James in top hat & fancy apparel) haul the baby carriage he was asked to buy for Georgy's adopted baby Sarah up the many stairs to her apartment.
She gets back at James by some cheeky comments in front of two proper elderly ladies. (Watch her interactions with both suitors... she can demonstrate wit and charm...)
Tho the Georgy Girl film theme song by the Seekers sneers at Georgy "...a little bit", I suspect this film was big because it struck a chord with so many girls & women. Sort of like the Janice Ian song "At Seventeen" in the 1970's.
Finally on DVD, but no "extras". But check Lynn Redgrave's site for more "Georgy" photos & info!
Rampling steals it.
brefane4 August 2005
Warning: Spoilers
Contrived and ultimately predictable comedy-drama that nonetheless manages to be entertaining and involving. Georgy's story is basically a modern Cinderella story, a cross between Room at the Top(59) and A Hard Day's Night(64), it's an old fashioned story employing modern attitudes and film technique. The characters and the script are inconsistent: Why does Meredith(Charlotte Rampling) have a baby(after "destroying" 2 others) only to put "it" up for adoption? And why marry the tiresomely antic Alan Bates only to leave him? Neither Bates departure, leaving his child with Georgy, nor Georgy's marriage to James Mason is particularly convincing. The relationships are tenuous, and the characters, like the film, go in and out of moods at the drop of the hat.
To keep things moving the director Silvio Narizzanno, who directed Die!Die!My Darling(64), has Redgrave and Bates do a lot of running and leaping about. Bates drops trou several times for comic effect but, doesn't really have a character to play. As the oafish Cinderella, the late Lynn Redgrave in her most famous role is endearing. The striking Charlotte Rampling creates the film's most memorable (and contemporary)character; her scenes are sharp and funny.
Somewhat overrated;the film's parts are better than the whole. The ambiguous final scene (listen to the soundtrack) seems influenced by Room at the Top, and reminds me of The Graduate(67)as well in casting doubt on the couple's future. A likable and worthwhile film; its enormous success at the time of its release is understandable. Lynn Redgrave received an Oscar nomination which put her in competition with her sister Vanessa, nominated for Morgan!. in a tie vote, Lynn Redgrave and Elizabeth Taylor(Who's Afraid of Virginia Woolf?)were named Best Actress by The NY Film Critics Circle.
To keep things moving the director Silvio Narizzanno, who directed Die!Die!My Darling(64), has Redgrave and Bates do a lot of running and leaping about. Bates drops trou several times for comic effect but, doesn't really have a character to play. As the oafish Cinderella, the late Lynn Redgrave in her most famous role is endearing. The striking Charlotte Rampling creates the film's most memorable (and contemporary)character; her scenes are sharp and funny.
Somewhat overrated;the film's parts are better than the whole. The ambiguous final scene (listen to the soundtrack) seems influenced by Room at the Top, and reminds me of The Graduate(67)as well in casting doubt on the couple's future. A likable and worthwhile film; its enormous success at the time of its release is understandable. Lynn Redgrave received an Oscar nomination which put her in competition with her sister Vanessa, nominated for Morgan!. in a tie vote, Lynn Redgrave and Elizabeth Taylor(Who's Afraid of Virginia Woolf?)were named Best Actress by The NY Film Critics Circle.
More Than A Disappointment
samkan9 March 2009
Warning: Spoilers
I remember buying the 45 rpm record "Georgy Girl" with my paper route money. And teasing the kid named George in our class. I also seem to recall that this was a film of some acclaim and noteworthiness back then. So I was intrigued when I brought it home from our our county library (as well as having been advised for forty years by the song lyrics).
I wasn't just disappointed, I was annoyed. Such a shallow, superficial plot with a convenient and contrived ending! Early in the film we learn Georgy has a rich suitor, instantly determining that such is too facile and material a road for our heroine to take. Georgy then undergoes a variety of life experiences before her epiphany -without an ounce of compromise- to, duh, marry the rich guy. Worse, said career move appears to result from a direct rejection of the problems resulting from not having a ton of money.
The pop version song "Georgy Girl" fades out with calls to better oneself; e.g., "The World will see...A new Georgy Girl...Wake up Georgy... Wake up Georgy Girl". Adding insult to injury, I almost fell off my Lazy Boy when, to the same accompaniment, the film ends, "You're rich Georgy Girl!...You're rich Georgy Girl!...". Well at least we now know what's important.
Alan Bates overacts as one of the most irritating characters I've ever suffered though. Given my whimsical memory, idea, etc., of what I thought this movie was, I wish I had not seen it!
I wasn't just disappointed, I was annoyed. Such a shallow, superficial plot with a convenient and contrived ending! Early in the film we learn Georgy has a rich suitor, instantly determining that such is too facile and material a road for our heroine to take. Georgy then undergoes a variety of life experiences before her epiphany -without an ounce of compromise- to, duh, marry the rich guy. Worse, said career move appears to result from a direct rejection of the problems resulting from not having a ton of money.
The pop version song "Georgy Girl" fades out with calls to better oneself; e.g., "The World will see...A new Georgy Girl...Wake up Georgy... Wake up Georgy Girl". Adding insult to injury, I almost fell off my Lazy Boy when, to the same accompaniment, the film ends, "You're rich Georgy Girl!...You're rich Georgy Girl!...". Well at least we now know what's important.
Alan Bates overacts as one of the most irritating characters I've ever suffered though. Given my whimsical memory, idea, etc., of what I thought this movie was, I wish I had not seen it!
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